Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs

Archive for the ‘Rajkumari song’ Category


This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

4699 Post No. : 16391 Movie Count :

4454

Today’s song is from an unknown film – Daawat aka invitation-1943.This film falls under the II category of ” Road Closed” movies – which means, except for the information given in HFGK, no other information about the film is available anywhere, as on today. What do we do then ? Nothing. Just try to know more about whatever is available.

The film was made by Eastern Pictures, Bombay. It was directed by M.Nazir, who apparently directed only this film. However, he acted in 15 films, from Zingaro-35 to Mala-41. I found one more name, Nazir Ajmeri (5 films) as a director. Obviously he must be a different person. There were 8 songs in the film, written by lyricist Tanvir Naqvi. He was one of those people who first migrated to Pakistan after partition and then came back to India to get some work and then went back again to Pakistan for good.

Tanvir Naqvi ( real name- Syed Khursheed Ali ) was born on 16th February 1919, at Lahore. His father was a Jahagirdar and elder brother was ADC to a Nawab. Tanvir went to Persia, along with father, where he was educated in Urdu and Persian. From the age of 14 years, he started writing poetry and participated in various Mushairas. He published a book ” Suhane Sapne ‘ of his poetry. By chance, A R Kardar read it and called Tanvir to Bombay to write for his film ‘ Swami’-41 made by CIRCO.

In his next film, Nai Duniya-42, Suraiya sang his song as her First song. His films Anmol Ghadi-46 and Jugnu-47 became hits and all his songs were appreciated much. He had earned a good name. However, after the film Parda-49, he migrated to Pakistan. In 1954, K.Asif invited him to India to write songs for his film ‘Mughal E Azam’, but by that time, Naushad had built his own team and he declined to take Tanvir Naqvi. From 1954 to 1959, Tanvir did many films. He also joined S.Mohinder and wrote songs for his 7 films.

In 1959, Tanvir Naqvi shifted again to Pakistan, but this time for good. There also he wrote for many films,like Koel, Jhoomar, Salma, Gulfam,Elaan etc etc. He also wrote for Punjabi films. He had married Idaan- elder sister of actress singer Nurjehan. However,since he had no children from her, he married again and had 2 children. He died in Lahore on 1-11-1972. In India, he wrote 224 songs for 48 films. Some of his songs are popular even today.

The Music Director of this obscure film was equally obscure – Vasant Kumar Naidu. There were a number of people who came to Bombay to try their luck in films. They had hopes, skill and a will to do hard work. Such people came to Bombay from all over India. Naidu came all the way from Burma-via Madras. All could not succeed. Those with strong Luck got some God Fathers and some could get opportunities which they turned into solid performance, but some could not get any of these and remained unknown. There are strange cases where Luck just came near but eluded them leaving them empty handed.

Vasant Naidu was not only one such person, who could not become a big name, but he was also one about whom hardly any information was available anywhere. In the case of music director Vasant Kumar Naidu, no information is available in any book or on the internet. Only Pankaj Raag wrote about his films and songs in his book ‘Dhunon Ki Yatra’. This too is based on HFGK only. Luckily Ms. Sai Lakshmi and Mr. Krishna Kumar Naidu, niece and nephew of Vasant Kumar Naidu visited this Blog and left some comments on an article . I picked up this slender lead and wrote to both of them. It is to their credit that both responded promptly . They tried to provide song and film information from different sites, which I already knew. After exchanging a few mails, they sent me a newspaper cutting, announcing the passing away of Vasant Kumar Naidu, along with his photo and a copy of his death certificate. Krishna Kumar ji also gave me some information about his family. I can understand their limitations. Naidu ji died in 1951. At that time these two were very young and now there may not be any other elder who may provide information about this artist.

Anyway, earlier I had zero information, now at least I have some information about him, plus his filmography as per the HFGK. I sincerely thank Ms. Sai Lakshmi ji and Shri Krishna Kumar Naidu ji for their help.

Vasant Kumar was born on 5-6-1915. His family had settled in Burma like thousands of other South Indian families. When Burma was struggling for independence, in the 1930s, most Indians left Burma and came to India. Many went to Calcutta and many went to South India. Many families walked for around 6 months from Burma to India. Mr.Vasant Kumar’s family was one amongst them. They walked from Rangoon to Madras. The family settled in Madras for some years.

Vasant Kumar had come alone to Bombay earlier in search of a career in music. He was an instrumentalist and could play any string instruments and also harmonium. He was also very much interested in reading different languages. There were many books that he read. He was also very keen on dressing up and had several suits in those days. He joined the industry and started growing as a Music Director. He then called his mother and other siblings to live with him in Mumbai along with his eldest brother’s widow and her son. He had 4 brothers. His eldest brother expired in Madras itself. Vasant Kumar was the second eldest. He had two younger brothers as well. They all lived on Peddar Road initially. Later, he left his Peddar Road flat and moved to Parel.

Vasant Kumar thereafter lived in Parel until his passing away on 16-10-1951.

Vasant Kumar got married in Madras. This marriage was arranged by his mother. Eventually his other brothers also got married. All three brothers and their wives stayed under the same roof in Parel in a joint family which was headed and supported monetarily by Vasant Kumar ji. His younger brother, the late Mr. Pandurang Naidu was also working towards a career in music. He became a musician (played banjo and mandolin). Vasant Kumar ji taught several string instruments to his brother, Pandurang ji. His youngest brother, the late Mr. Sreenivasn Naidu, became a composer at a later stage of his life for the Indian Railways Music Academy (Central Railway Cultural Academy).

Vasant Kumar is survived by his only daughter, Mrs. Pramila Naidu, who is now a widow. She lives in Pune with her grown up children. Pramila ji was around 5 years old when her father passed away. She has vague memories of her father. It is sad to see her struggling now financially. She continues to give tuition at the age of 70 to make her living. She lawfully owns 3 flats in Parel, Mumbai but the 3rd generation of the family has occupied these flats and are not willing to vacate. This property is now worth in crores. The cousins of Pramila ji have gotten together and have filed a lawsuit against these 3rd generation greedy family members. The lawsuit has been going on now for the past 3 years.

When luck is not in your favour, any amount of hard work, efforts or support from influential persons does not work. This is amply proved by what happened in Naidu’s case. Naidu, before starting as an independent composer and even later, for some time, was an assistant to Anil Biswas. To help Naidu establish, Anilda sometimes used to put a word to known people for him as M.D.

Anilda knew Harishchandra Rao kadam very well. When he decided to become a Producer and make a film “Sukhi Jeevan”, Anilda met him and took a promise from him to make Naidu the MD for that film.

Harishchandra Rao wanted Master Bhagwan as the film’s Director. Bhagwan agreed but put a condition that C.Ramchandra be made the MD for this film. Rao told him about Anilda and the promise given for Naidu. Bhagwan refused his film if C.Ramchandra was not made MD. To solve this problem, Anilda was called and after discussing with all, he withdrew his demand for Naidu. Thus Naidu lost and C.Ramchandra got his first Hindi film ” Sukhi Jeevan”-42 , to start his career ! ( from the book ” Ek Albela” by Isak Mujawar).

Vasant Kumar started his career in 1939 by giving music to films ‘Thunder’ and ‘Pakke Badmash’. Till 1947, he composed music for 22 films, as per the HFGK. He sang 1 song as a duet with Khan Mastana for the film ‘Mere Sajan’ (1941). He has composed 160 songs in these 22 films. His filmography, as per the Geet Kosh, is ‘Thunder’ (1939), ‘Pakke Badmash’ (1939), ‘Rangeela Jawaan’ (1940), ‘Jung-e-Azadi’ (1940), ‘Desh Bhakt’ (1940), ‘Suhaana Geet’ (1941), ‘Meri Khwaish’ (1941), ‘Mere Saajan’ (1941), ‘Lehri Jawaan’ (1941), ‘Lala ji’ (1942), ‘Call Of Youth’ (1942), ‘Maata’ (1942), ‘Watan Ki Pukaar’ (1943), ‘Nai Zindagi’ (1943), ‘Mohabbat Ki Jeet (1943), ‘Daawat’ (1943), ‘Circus Girl’ (1943), ‘Bhaagta Bhoot’ (1943), ‘Beda Paar’ (1944), ‘Shaahi Khazaana’ (1946), ‘Chamkati Bijli’ (1946) and ‘Toote Dil’ (1947).

Unfortunately, Vasant Kumar got mostly B and C stunt and action films for composing the music. Big banners like National Studios gave him an opportunity with the film ‘Lala ji’ (1942), in which he got many songs sung by Anil Biswas, Kusum Mantri, and Vatsala Kumthekar. However such films came to him only as an exception, therefore his exposure to audiences was limited and his name did not gain any fame. Actually, many big, well known and popular singers have sung for him.

However, without a mentor, God Father or the support of a big banner, it became impossible for Vasant Kumar to grow further. During the transition period of 1947-48, when many composers migrated to Pakistan, the existing big composers made their positions solid. Thus smaller composers never got any opportunity to benefit from the void created by the exit of composers. This was the case of many small-time composers like him.

Today’s song is a duet by Rajkumari and G M Durrani. This rare song comes from Shri Abhay Jain ji (US) and was uploaded by Sadanand Kamath ji for me. Thanks to both. With this song, film Daawat-43 makes its Debut on this Blog.


Song- Nain se nain milaaye aao (Daawat)(1943) Singers- G M durrani, Rajkumari, Lyricist- Tanveer Naqvi, MD- Vasant Kumar Naidu
Both

Lyrics

Nain se nain milaaye aao
Nain se nain milaaye aao
Man ko man se taulen aen aen
Man ko man se taulen

nindiya ban kar do nainon mein
sapnon ke pat kholen aen aen
nindiya ban kar do nainon mein
sapnon ke pat kholen

nain se nain milaaye aao
Man ko man se taulen aen aen
Man ko man se taulen

main raat gaye ka sapna
main raat gaye ka sapna
main saanjh bhaye ki dhool
saanjh bhaye ki dhool
main pawan ki sheetal ??
main pawan ki sheetal ??

main bhor bhaye ka roop
main bhor bhaye ka roop
ye bhed kabhi na kholen aen
bhed kabhi na kholen
Man ko man se taulen aen aen
Man ko man se taulen

main kali banoon bagiyaa mein chatkoon
kunj kunj mehkaaun
main kali banoon bagiyaa mein chatkoon
kunj kunj mehkaaun

main bhannwra ban kar it ut doolon
door door ho aaun
door door ho aaun
aur munh se kuchh na bolen
aur munh se kuchh na bolen
Man ko man se taulen aen aen
Man ko man se taulen


This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

4680 Post No. : 16359 Movie Count :

4442

Writing on old films, its people and its music is an unusual hobby. Such people are very few and what they write is read by a limited but a large circle. This group of people are exclusive and generally they are not recognised by the society. Funnily, ” writing on old films” is mainly ( and wrongly) equated with old songs only. people are not aware that there is a world beyond old songs and music as far as old films are concerned.

Whenever I tell people that ‘ I write on old films’, their immediate reaction is to start praising old songs which they know. Depending on the age of the person, the period of ‘ old films’ differs. For an young man of, say 20-25 years old films may mean films which came in the 80’s and 90’s. For people of 30-40 years, films of the 6o’s and 70’s are old films. For people of 45-60 years of age, old films are from the 50’s. Only people in the age bracket of 65 to say 80/85, it is films of the 30’s and 40’s which are old films !

Irrespective of the age group and their definition of old films, people unanimously equate films with songs only. That is why I say films have 2 parts…..
1. Poetry – It consists of the songs, the lyricists, the Music Director, the arrangers, instruments used and its players, how songs are presented, who is the singer etc etc.
2. Prose – It consists of information of the producing studios,producers, directors, actors, film stories, locations, cinematography and all those who help make a film-other than songs and music.

Most Social Media sites and groups centre around film music, songs, singers and related topics. I would guess that about 95 % groups and sites belong to this category. However, the remaining 5% groups and sites, Blogs loyally give importance to people connected with film making. They collect and provide information on the old films, production houses, biographies of artistes, producers, directors, cinema stories,filmographies, interviews with people etc etc. These sites and groups are exclusive and known only to people who are interested in this aspect of films, for whatever reasons.

However, I strongly believe that the 2 parts, i.e. Prose and Poetry of films are incomplete without each other. One may specialise in knowledge of one part, but he can not do without having a sufficient knowledge of the other part too. For example, if I specialise in the Prose part of old films, I also have a sufficient knowledge of the Poetry part of the films. Therefore,instead of specialisation, i would call it a Preference of the particular part. I have also noted that most people who write or do any kind of blogging or ‘siting’ of old Hindi films, do this as a Hobby. In a way, it is ” Love’s Labour” for them.

Another point.As is generally believed,all people connected with this hobby are not the ‘Retired ‘ people. There are enthusiastic bloggers in this field, who are professionals having either a job or a business. Some high profile bureaucrats, some doctors, educationists, professors, senior managers in Government or private enterprises or even directors of companies. They are of course in the age group of 45 and above. Not that there are no young people involved in old films. Just take a round of related pages on Fb, you will find quite young people enjoying old songs and also putting their ‘ knowledgeable’ remarks/comments.

I developed this love of old films quite early, in my early or pre teens, perhaps.As the youngest member of a big joint family, I was assigned the duty of accompanying the elders, whenever they went to see a film – which was quite often. I started liking films (mostly mythological or social films) and their songs. I branched off into seeing action and stunt films with my friends. Language was not a bar. Hyderabad being a multilingual state, I used to see films in Hindi, Marathi, Telugu, Tamil, Kannada, English (especially Republic Serials like Captain Marvel etc.)

I developed a habit of jotting down the details of the film seen, in a notebook. This habit lasted with me till about a few years till I reached my final college year in the late 50’s. Once I joined my job and then got married, my notebook writing stopped. I had carefully preserved these notebooks till I started writing articles. But by that time many notebooks had faded, some were torn, some had white ants. I salvaged many and transcribed from the spoiled ones, but some information was lost forever. Still, what remained was enough for me to write hundreds of posts and film synopsis. Good habits always help !

Believing in discipline and organised work, all my more than 1000 articles are neatly stacked in 45 Long books. More than 1100 Bio sketches of cine artistes are in my Laptop. I have 100s of books, purchased and got as gifts from the authors,in Hindi, Marathi and English. I have already written in a diary what is to be done of all these after I leave and also informed the person. The idea is not to waste all this knowledge and that the next generation should have it readymade.

Today’s post has become a different one. Once in a while, some diversion !.

Today’s song from the film Torpedo-41 is a lovely, sweet song by Rajkumari Banareswali. This was a Costume film as per HFGK, but looking at the actors it seems to be a mixture of action and stunt. The cast is Yashwant Dave, Shehzadi, Samson, Meher Sultana and others. The director was N A Mansuri, B.A. He later directed 2 more films, Soorat-47 and Sanwariya-49. I wonder what must he be doing in between ? Music was by Shyam Babu Pathak and Shanti kumar. With this song, film Torpedo makes its Debut on the Blog. Thanks to Shri Abhay Jain(US) for the rare song and Sadanand Kamath ji for uploading it for me.


Song- Chal Saajan chal saajan Ek chhoti si duniya apni basaayen (Torpedo)(1941) Singer- Rajkumari-Banareswali, Lyricist- Kabil, MD- Shanti Kumar Desai

Lyrics

Chal Saajan
Chal Saajan
Chal Saajan
Ek chhoti si duniya apni basaayen
Chal Saajan
Chal Saajan
Ek chhoti si duniya apni basaayen
Chal Saajan
Chal Saajan

is duniya se ae door kahin jaa kar
is duniya se ae door kahin jaa kar
door kahin
door
door kahin
door
Chal Saajan
Chal Saajan
Ek chhoti si duniya apni basaayen
Chal Saajan
Chal Saajan

prem ka deepak man mein jalaa kar
prem ka deepak man mein jalaa kar
kaali ghata ka parda hataa kar
kaali ghata ka parda hataa kar
duniya ki nazron o o o se
duniya ki nazron o o o se
ojhal ho jaayen
ojhal ho jaayen aen aen
Chal Saajan
Chal Saajan
Ek chhotisi duniya apni basaayen
Chal Saajan
Chal Saajan

ham tum hon wahaan
aur na ho koi
ham tum hon wahaan
aur na ho koi
bhor bhaye aji saajan ho
bhor bhaye aji saajan ho
viyog ke baadal kabhi na chhaayen
viyog ke baadal kabhi na chhaayen
Chal Saajan
Chal Saajan
Ek chhoti si duniya apni basaayen
Chal Saajan
Chal Saajan


This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

4656 Post No. : 16324

“Firdaus”(1953) was produced by M S Ahluwalia and directed by Vasant Joglekar for New Premier Films, Bombay. The movie had Geeta Bali, Anoop Kumar, Rama, Om Prakash, Lalita Pawar, Jamaal Amrohi, Badri Prasad, Randhir, Pesi Patel, and Vasant Thengadi etc in it with Ashok Kumar in guest appearance.

The movie had eight songs in it, all being female solos, sung by four singers- Rajkumari (3), Geeta Dutt(2), Asha Bhonsle (2) and Lata Mangeshkar (1). Two songs have been covered so far.

Here is the third song from “Firdaus”(1953) to appear in the blog. This song is sung by Rajkumar. D N Madhok is the lyricist. Music is composed by Robin Chatterjee.

Only the audio of the song is available. The song sounds like a mujra song to me, going by its lyrics. I request our knowledgeable readers to throw light on the picturisation of this song.


Song-Dekhi re anaadi tori preet (Firdaus)(1953) Singer-Rajkumari, Lyrics-D N Madhok, MD-Robin Chatterjee

Lyrics

dekhi re anaadi tori preet
dekhi re anaadi tori preet
dekhi re anaadi tori preet
anaadi tori preet

jhooth mooth ki baat ko
maine jaana saanch
ab door khade muskaat ho o o
dekh begaani aanch(?)
mare hue ko marna yaa kaahe ki reet ho
kaahe ki reet
anaadi tori preet
anaadi tori preet
dekhi re anaadi tori preet

tum bin jeena maut baraabar
tum bin jina maut baraabar
aur julam bedardi na kar
aur julam bedardi na kar
hamne apni haar maan li ee ee ee ee
hamne apni haar maan li
maan li tori jeet
maani tori jeeet
dekhi re anaadi tori preet
anaadi tori preet
dekhi re
dekhi re anaadi
anaadi tori preet
dekhi re anaadi tori preet


This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

4613 Post No. : 16246 Movie Count :

4417

Today’s song is a rare song, from an unknown film Suhagi-48. Yes, the title is Suhagi and NOT Suhag. It is rather an unusual and misleading title. There is a cluster of titles around the word Suhag. There were 4 films as Suhag and also 4 films as Suhagan. There was a film Suhag raat ke Pehle and then there were 3 films as Suhag Raat. 2 films as Suhag Sindoor. There were two films with funny titles like Suhag ka Daan and Suhag ka Balidan. And among all this cluster poor film Suhagi was hidden in a corner !

Made by Blue art pictures, the film was directed by A.Shakoor, who directed only one more film in his career- Paayal-48, also made by the same banner. Film Suhagi was produced by Ismaile Devjee and the MD was Shaukat Dehlavi.

1948 was an year in which all the industries-including film industry- were trying to come back to normalising their businesses. The new government had not yet changed any laws and rules, so there was peace on all fronts. The Black money which was being poured into making films was now used by Politicians and thus the film industry was almost back to genuine producers and filmmakers. Most of the famous studios were on the verge of ending the studio system and studio culture. Some big names like New Theatres, Prabhat, Sagar, Ranjit were now mere shadows of their earlier powerful existence.

While film makers lost an important topic of Patriotism( in a garb), they now concentrated on Indian culture, Mythology, History, Family values, Joint family importance, literacy and such development themes. This changed the face of films. However, stories based on Folk tales, Religion and Kings-Queens and evil Wazirs still continued with public patronage. Raj Kapoor emerged as a Director, Ashok Kumar became a middle aged Hero, Dilip and Dev prospered with love stories and young themes. Older Heroes, Heroines, Directors and character artistes started vanishing and a new crop of actors etc took over their mantle. Music was changing its tunes. Melody ruled over Lyrics now and Naushad, C Ramchandra, H-B, S – J, Madan Mohan and the likes of them started making names and films.

One major event that happened in 1948, was the entry of Southern producers into Hindi heartland, with a Bang, when S S Vasan brought his Magnum-Opus- ” Chandralekha”, with more than 600 prints for All Indfia release. The extraordinary success of this film paved the way of other big production houses of South, like AVM, L V Prasad etc. to push their Hindi remakes of successful Southern films into the Hindi markets all over India.

For the MD Shoukat Dehlavi of film Suhagi, it was only his second film as an MD. Do you know who this MD was ? He used 5 different names to compose music to 29 films in his career spanning from 1947 to 1965 in India. He composed 203 songs and also sang 3 songs in 3 films namely, Dildar-47, Aiye-49 and Baradari-55. His 5 names were 1. Shoukat Dehlavi, 2. Shoukat Hussain Dehlavi 3. Shoukat Ali 4. Shoukat Haidari and finally he took a permanent new name 5. NASHAAD.

I can remember only one more artiste who had 5 names in her life. She was known as Qamar Sultana, Indira, Indu, Jaijaywanti and AMEETA !

After Partition, there was a rush to migrate to Pakistan and artists continued to shift there from 47 to almost 1950. Some artistes like Noorjehan left immediately. There were few cases where some people borrowed money from friends and then left the country quietly, leaving the money lender high and dry. By about 49-50, almost everything was settled on both sides. The conditions in Lahore and Karachi had stabilised considerably for film making and lots of opportunities existed for film artistes there by mid 50s. That led to a second wave of migration to Pakistan at that time. Those who had continued in India completed their assignments here and went to Pakistan.

This type of Migration continued till almost mid 60s, when actor Kumar, MD Naashaad, producer actor Shaikh Mukhtar etc migrated to Pakistan. For the lucky ones, the talented ones and those who had preexisting ties in Pakistan sustained, prospered and were happy, but a few artistes suffered heavily. Once a popular Heroine, Meena Shorey, one of the most handsome actors of his times-Najmul Hasan and the hopeful Shaikh Mukhtar spent their last days in utter neglect, penury, disillusionment and sorrow. Actors like Noor Mohammed Charlie regretted their decision to migrate, but it was too late.
One of the later migrants was NASHAD, music director,who shifted in 1963 or so.

NASHAD was born as Shaukat Haidari,in Delhi,on 11-7-1923. He completed his schooling in Delhi, where he learnt playing the flute. He came to Bombay and worked as assistant/helper to many composers, learning to play different instruments. He even worked as assistant to Ghulam Haider and Naushad.

He was one composer who used several names to give music. His first film was Dildar in 1947. He used the name Shaukat Dehlavi for Dildar-47, Paayal-48, Suhagi-48, Dada-49, Ghazab-51 and Ram Bharose-51. He was Shaukat Hussain Dehlavi for Jeene do-48, Shaukat Ali for Toote Tarey-48 and Shaukat Haidari for Aiye-49.

He was considered a mediocre composer in India. Then one day he was called by producer Nakshab Jarchvi,who offered him a film,with a condition that he changed his name to Nashad. He accepted the offer and used the name Nashad throughout his life. After him his 15 children too used Nashad as their surname.

Nakshab Jarachavi wanted to make a film. Those days Naushad was the Top composer. Films were sold on his name. Naushad worked only for Top banners. Nakshab approached him and offered his film. Naushad scornfully said,” Hum kisi aire gaire ki film ko music nahi detey”. This infuriated Nakshab no end and he challenged Naushad that he will make another Naushad in the industry. He called the comparatively less known but talented Shaukat Haidari,changed his name to NASHAD (to resemble Naushad’s name) and gave him the film.

Nashad, on his part, tried very hard and gave the music to film Naghma. It was,though not like Nashad’s standard, but excellent songs were there and the film became a hit due to its music. Unfortunately, Nashad could not repeat his success again ever in India. As Nashad he gave music to 21 films (total 30 films),like Bara Dari, Bada Bhai, Naghma, Char chaand, Kaatil Jawab, Sabse bada Rupiah, Rooplekha, Darwaza etc

Nashad gave their first hindi movie singing breaks to Mubarak begum, Suman Kalyanpur and Sabita Banerjee.

His friend Nakshab Jarachavi had migrated to Pakistan after 1947 and was making films there. He called Nashad to Pakistan as a composer for his film Maikhana-64 (after his film Fanoos also crashed at the Box office in Pakistan). Nashad accepted his offer. Before leaving , Nashad married singer Premlata and both went to Pakistan. His first film became a major hit and Nashad was on top. He gave music to 64 films in Pakistan.

Nashad died in Lahore on 3-1-1981.

While in India, Nashad was always accused of plagiarism, to which he answered through an interview to Filmfare, dated 5th August 1955, ( Thanks to Cineplot) thus….

” Although no one says it to my face, I know that there is a section in the film industry who decry my music as “a rehash of familiar tunes.”
This amounts to a charge of plagiarism.

I have no defense, no apology, to offer, except to say that, if I am a plagiarist, I am one unconsciously.
With only seven main notes, six ragas, thirty-six raginis and seventy-two sub-raginis, every “new” musical composition is bound to sound familiar in places.
Try to hum any popular film composition of today and then cast back your mind. Make a careful search for a parallel and you will easily find one in some celebrated songs of yesterday.

I believe in popular music, music which people will like, humming and singing it in their homes—in moments of joy or sorrow. I try my-best to keep my compositions free from complicated “alaps,” “tans” and those notational cascades which the man-in-the­-street (who has no musical training) cannot easily remember and hum.

Film music, to be good and popular, must always be the result of team-work. The ego of the music-director as well as that of the lyric-writer needs to be suppressed completely, even to the extent of accepting suggestions from everyone in the unit.

In the music of one of my forthcoming films, the appeal of the songs owes much to suggestions made by the producer and mem­bers of his staff. One of the tunes owes its origin to an air I heard the office-boy humming!

The producer was no professional musician, but I discarded two of my best tunes to fit in a completely different third one based on his suggestions.
I am glad that I do not live in an ivory tower and am not deaf to the music of ordinary people, I say to myself : “If this is the kind of music they love, it is absurd to give them a high-brow composition. Both in rhythm and structure, I stick rigorously to what is popular, even at the sacrifice of my own preferences.

Such film music can be planned scientifically and with precision. My first job usually is to sit with the director and determine the musical “situations”. Once these are agreed upon, I start composing the melodies, in harmony with the “mood” of those situa­tions. Then the lyricist writes the words of the approved tune.

After the song has been recorded, our work is ended and it now depends on the director to make or mar it in his picturisa­tion of it. This, indeed, is a hurdle all film music must take.

Everyone has listened to film songs which sound good on the radio, yet have been “murdered” by poor picturisation. Every­one, too, has heard songs which on the air have sounded mediocre and of no particular merit, yet have been things of beauty in the film—thanks to clever directorial work. A really good song, given to a good director to picturise, seldom fails to go over in a big way with the public.

It is thus necessary for a music director to be careful in signing his contracts. It is important to him to make sure that the film for which he is employed to provide music will be directed by a competent man, so that not only are his songs not “murdered” in transcription to the screen but any possible shortcomings in them are glossed over by good picturisation.

Consequently I have always studied the directors of the films for which I am to provide music. One knows that one’s songs are safe with them and gain in appeal from attractive picturisation.

To these men, too, my tunes often sound “vaguely familiar”! But, then, what tune doesn’t ?
With only seven notes, six ragas, thirty-six raginis—but we’ve just gone over that! ”

Film Suhagi-48 had a starcast of Begum Para, Manorama, Sadiq Ali, Badri prashad, Jilloobai, Abu Bakar etc. The word Suhagi means ‘ Lucky ‘. However the name benefit does not seem to be got by the film, as it was not a famous or popular film.

I have no idea about the story of this film. From its ad.s in Film India, I guess the story was about a family’s bahu who is Lucky after marriage. Today’s song is sung by Rajkumari. With this song, film Suhagi-48 makes its Debut on our Blog.


Song-Aag dil mein lagaaye baithe hain (Suhagi)(1948) Singer- Raj Kumari Dubey, Lyricist- Not known, MD- Shaukat Dehalvi

Lyrics

Aag dil mein lagaye baithe hain
Aag dil mein lagaye baithe hain
apni duniya aa aa aa
apni duniya lutaayye baithhe hain
haaye
Aag dil mein lagaye baithe hain

haaye majbooriyaan
haaye majbooriyaan muhabbat ki
haaye majbooriyaan muhabbat ki
unko apna banaaye baithhe hain
apni duniya lutaayye baithhe hain
haaye
Aag dil mein lagaye baithe hain

toone kya kya aa aa
kya kya
toone kya kya sitam kiye hum par r
toone kya kya sitam kiye hum par r
yaad hai par bhulaaye baithhe hain
apni duniya lutaayye baithhe hain
haaye
Aag dil mein lagaye baithe hain

ashq aankhon mein hai
haaye ae
ashq aankhon mein hai
labon pe se haan
labon pe se haan
aan aan
dard dil mein dabaaye baithhe hain
dard dil mein dabaaye baithhe hain
haaye
aag dil mein lagaaye baithhe hain
aag dil mein lagaaye baithhe hain aen aen


This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

4560 Post No. : 16171

The blog ten year challenge series is in progress in the blog since 2019. The current blog ten year challenge (2011-2021) has not yet picked up steam because very few songs were discussed during the initial days of 2010. That year even had a few DOT days during the first few days of the year.

This day ten year ago (viz 20 january 2010) saw just one song getting discussed, and that one song was from “Anjaan”(1956). This movie cannot be taken up for Blog Ten year challenge today because the movie has already been YIPPEED.

So what to do ? “Anjaan”(1956) may have been YIPPEED in the blog, but “Anjaan”(1941) is not. So let me discuss a song from “Anjaan”(1941) today. 🙂

“Anjaan”(1941) was directed by Amiya Chakraborty for Bombay Talkies Limited, Bombay. The movie had Devika Rani, Ashok Kumar, V H Desai, Girish, Suresh, P F Pithawala, Gulab, Fatty Prasad, Yusuf Suleman, Saiyyad Mukhtar, David, Reva, baby Madhuri, Arun Kumar, Ibnul Hasan, Bachan Lal Dixit, Om Prakash, Tarun Kumar, Bhargavi etc in it.

The movie had ten songs in it. Three songs have been covered in the past.

Here is the fourth song from “Anjaan”(1941) to appear in the blog. This song is sung by Rajkumari. Kavi Pradeep is the lyricist. Music is composed by Pannalal Ghosh.

Only the audio of the song is available. I request our knoledgeable readers to thro light on the picturisation of the song.

PS-Our regular visitor Ammj Wijesiriwardene points out that the video of the song is available. From the video, we see that the song is picturised as a stage performance song where one lady, flanked by two others, lip syncs this song and that is performed by their dance accompanied by a dholak player, as this performance is watched by a housefull audience in a haveli. I request our knowledgeable readers to help identify the actors seen in the picturisation.

Audio

video

Song-Chhalko chhalko na ras ki gagaariya(Anjaan)(1941) Singer-Rajkumari, Lyrics-Kavi Pradeep, MD-Pannalal Ghosh

Lyrics

chhalko chhalko na ras ki gagariya
chhalko chhalko na ras ki gagariya
mori panghat pe bheeje chunariya
ho
mori panghat pe bheeje chunariya
chhalko chhalko na ras ki gagariya
mori panghat pe bheeje chunariya
ho
mori panghat pe bheeje chunariya

aayi peene pilaane ki bela
haan aayi peene pilaane ki bela
haan aaj panghat pe pyaaso nka mela
haan aayi peene pilaane ki bela
haan aaj panghat pe pyaason ka mela
dekho laage na mohe najariya
haan dekho laage na mohe najariya
dekho dekho na laage najariya
haan mori panghat pe bheeje chunariya
haan mori panghat pe bheeje chunariya
chhalko chhalko na ras ki gagariya
mori panghat pe bheeje chunariya
haan mori panghat pe bheeje chunariya


This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

4563 Post No. : 16160

“Ghar” (1945) was a Sunrise Production movie. It was directed by V M Vyas. The movie had Jamuna, Nawab, Molina, Yakub, Kalyani, Dulari, Iftikar, W. M. Khan, Mohan, Mirza Musharaff etc in it.

Three songs from this movie have been discussed in the past.

Here is the fourth song from “Ghar”(1945) to appear in the blog. This rare song is sung by Rajkumari. Roopbani is the lyricist. Music is composed by A R Qureshi.

Only the audio of this melancholic song is available. I request our knowledgeable readers to throw light on the picturisation of this song.


Song-Meri aankhon ke aansoo (Ghar)(1945) Singer-Rajkumari, Lyrics-Roopbani, MD-A R Qureshi

Lyrics

Meri aankhon ke aansoo
meri aankhon ke aansoo
aankhon mein hi so jaao
haan haan so jaao
meri aankhon ke aansoo
meri aankhon ke aansoo
aankhon mein hi so jaao
haan haan so jaao
duniyaa aa
duniya kahin badnaam na kar de
haan badnaam na kar de
meri aankhon ke aansoo
meri aankhon ke aansoo
aankhon mein hi so jaao
haan haan so jaao

vidhwa hai tu
tera ujda suhaag
vidhwa hai tu
tera ujda suhaag
tujhe hansna bhi paap
tujhe rona bhi paap
tujhe hansna bhi paap
tujhe rona bhi paap
aap na rowo
na hamko rulaao
na hamko rulaao
aap na rowo
na hamko rulaao
na hamko rulaao
meri aankhon ke aansoo
meri aankhon ke aansoo
aankhon mein hi so jaao
haan haan so jaao

poori ??
bani suhaagan
poori ??
bani suhaagan
ho gayi vidhwa
main abhaagan
choodiyaan tooti
aur kesar bikhra
choodiyaan tooti
aur kesar bikhra
meri aankhon ke aansoo
meri aankhon ke aansoo
aankhon mein hi so jaao
haan haan so jaao

koi nahin jo dewe dilaasa
koi nahin jo bandhaa de aasha
vidhwa vidhwa naam hai mera aa
aansoo peena kaam hai mera aa
dharti mujhe marne nahin deti
duniya mujhe jeene nahin deti
kaise kaatoon dukhiyaa jeewan
Bhagwaan mujhe batlaao
Bhagwaan mujhe batlaao o
meri aankhon ke aansoo
meri aankhon ke aansoo
aankhon mein hi so jaao
haan haan so jaao


This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

4521 Post No. : 16079 Movie Count :

4391

Today’s song is from a film which is 82 years old – Baazigar-38.

It was released just 2 years before I was born. The word Baazigar means a Juggler, Magician, an Illusionist – one who can create magic or one who has the capacity to do the unimaginable things. Perhaps, like a person who wins unexpectedly at the last minute after losing all the while, or one who turns the tables when no one expects him to do so. I have not seen this film, nor I know about its storyline, but my guess is, it must be a story of a person who was daring and changed the game in his favour when everyone thought that he would surely lose it.

There were 4 films called Baazi – made in 1951,1968,1984 and 1995 and then there were 4 films called Baazigar made in 1938, 1959, 1972 and 1993. There was even a film Baazigar-The Iron Man-2008, which was dubbed from a South Indian film.Today’s film Baazigar-38 was made by Ranjit Movietone. In the early era of the Talkie films, Ranjit was a respected big name. The spirit behind Ranjit Movietone was Chandulal Shah – who was a Baazigar himself in this film. An ordinary low level operator in the Cotton market built an empire in the film industry, like a true Baazigar, indeed !

Hindi film industry’s growth in the early years of 20s to 40s was contributed by 2 major communities. One of them was the Gujarati businessmen who immediately identified this business as the future gold mine. The other major community was the Local Marathi, who lent their brain and hard work to this industry. As the time went by, people from Punjab, U.P., Bengal and other states of India joined hands to help this industry to prosper. However, till the mid 50s it was the Gujarati Sethias who poured the finances. Financiers like Sampat Sheth, Gokuldas Pasta, Manik Sheth Patel, Chunilal Munim, Mangaldas Parekh, Abdulali Yusufali, Mohd. Ali Rangwala, Chimanlal Desai, Bhogilal Dave, Mayashanker Bhatt etc only supplied the money, but never dabbled in other departments nor did they learn anything about the film making, more than what was needed to get some profits.

One person, however, was different. CHANDULAL SHAH. He not only put crores of rupees in film making, but also learnt the technique and art of making films, direction, building organisations of producers, developing political connections and what not. He did everything that was needed to become a successful filmmaker and a leader in the industry. That is why Baburao Patel called him “Sardar”. Chandulal Shah made his company Ranjit Movietone, a force to reckon with.

Chandulal Shah belonged to Jamnagar-Gujrat. He was born on 13-4-1898. He was into the cotton trade and used to visit Bombay frequently. Later he started working in Bombay Stock Exchange. He used to visit the Laxmi films, nearby to watch shootings. On one occasion, the director of a silent film ” VIMLA “-1925 fell very sick and on the recommendation of a solicitor friend, Chandulal Shah got an opportunity to direct the balance film. Impressed by his work style he was offered 2 more films. He left the Stock Exchange job and took up the film line completely.

From Laxmi, he shifted to Kohinoor Film Company, where he met actress Gauhar Jan Mamajiwala, who became his mate for the next 50 years till he died. Gauhar used to feature in his films. With Gauhar, he did GUNSUNDARI in 1927 and in 1934 (silent and Talkie respectively).

This film was a tremendous hit and it helped them to establish their own film company, Ranjit Movies in 1929. In the next 3 year’s time they made 39 silent films. After the advent of Talkie, they changed the name of Ranjit to Ranjit Movietone. Chandulal liked to do things only kingsize. Thus he established Ranjit studios with 4 large sound stages. He also hired around 300 people in the beginning. They made ,on an average, 6 feature films every year. His studio was an assembly line production house. At a time at least 5 to 6 films were being made in his studios. He had a big army of famous Actors, Writers, technicians, directors, Music directors etc. on his payroll.

Actors like Gauhar jaan, Bilimoria, Nirupa Roy, Motilal, Madhuri, Khursheed, and K L Saigal, Music directors like Gyan Dutt, Bulo C Rani, Khemchand Prakash etc, Lyricists and writers like Kidar Sharma, Pradeep, Saadat Hasan Manto and many others were on his Payroll.

Chandulal was very proud of his empire and used to advertise ” There are more stars in Ranjit than in the sky “. At the peak time, there were about 700 people employed in Ranjit and the Government had opened a Ration shop in his studio premises for the workers’ benefit ! Khemchand Prakash did 20 films in Ranjit from 1940 to 1945, Gyan Dutt 25 films from 1937 to 1943 and Bulo C Rani did 20 films from 1943 to 1954 here.

From 1929 to 1963 Ranjit made Silent films-39, Tamil-1, Marathi-1 and Hindi Talkie films 120

Unfortunately due to a fire, except 7 talkie Hindi films, all other films were destroyed. Chandulal Shah was an active person. Besides filmmaking he took interest in many Cine Associations and also led delegations abroad. He was a keen Horse racer, better and a Gambler.

In 1944, in one day he lost ONE CRORE TWENTY FIVE LAKH rupees in cotton betting and that was the beginning of his downfall. He had to mortgage all his and Gauhar jaan’s properties, but it could not save Ranjit from ruins. He returned to Film Direction to make money and his First film after 14 years was PAAPI-1953. It had the hit pair of those times-Raj Kapoor and Nargis. For the First time Raj Kapoor did a double role, but the film flopped. Clearly the times were bad for Chandulal. All his kundali was topsy turvy !

He tried 3 more films, all failed. His last film was ‘Akeli mat jaiyo’-1963.A man who ruled an Empire started travelling in local trains and buses.

Chandulal Shah died on 25-11-1975.

The year 1938 was a year in which the film industry was trying to shed the “carried forward” load of the Silent era and make a new beginning towards a better future. Many new production houses, actors, directors and composers were in full steam and churned out films after films. major studios contributed heavily to the total films made that year. Ranjit made 5 films, New Theatres-4, Bombay Talkies-3, Mohan Pictures-6, Sagar Movietone-6, Minerva Movietone-4, Mohan Bhavnani-4, Prakash Pictures-4 etc.

In 1938, Master Bhagwan debuted as a Director with Bahadur kissan, Renuka Devi (Begum Khursheed Mirza) debuted as an actress with Bhabhi, Meenakshi Shirodkar debuted in film Bramhachari, Lalita Pawar produced a film Duniya kya hai. Surprisingly, all these 3 Heroines were married at the time of their Debut. There was a variety in film subjects – comedy, suspense, crime, social, mythological, social evils, stunts, adventure, historical, musical and various other Genres were tried in films. If one goes through the films made this year, it indicates the way the film industry was growing in its initial years.

Baazigar-38 a Costume Drama by Ranjit was directed by Manibhai Vyas- who started his career from the Silent era and became an independent Talkie director with Dukhiyari-1937. He directed 26 Talkie films. His last film was Bajrang Bali-1976. The cast of the film was Khatun, Trilok Kapoor, N M Charlie, Ila Devi, Anis, Suresh etc.etc. All the 13 songs of the film were written by P L Santoshi and Gyan Dutt provided the music.

Iladevi was a new name. Even after efforts, no information was available to me about her. From the question-answer column of the magazine Film India, I learnt that Ila Devi’s original film name was Miss Ilmas. I do not know in which religion or community, this name is used.After making her debut in Hindi films in ‘ Nishan -E- Jung ‘-1937, she changed her name to Ila Devi and acted in 6 more films. Four films in 1938 (Billi, Bazigar, Rikshawala and Gorakh Aaya) and two films in 1939 (Adhuri Kahani and Kahan hai teri manzil). After this her name is not found in any films, when I checked.

This change of name, after using one name in a film, is not unique, though,this seems to be the First such instance. I know, off hand, at least two more such instances in Film industry. Actress Ameeta (Tumsa nahi dekha fame) had used name Jaijaiwanti in her first film Thokar-1953 ( her second film kaafila -52 was released first as Ameeta,however), but she changed it to her name Ameeta from next film onwards. ( her real name was Qamar Sultana). The second example is actress Zeb Rehman who was known first as Preetibala, then she changed her name to Zeb Rehman.

There is another name ‘ Khatun ‘ in the cast. Miss Khatun Bano was born and brought up in a poor Muslim family of Lahore. As per the family tradition, she learnt dancing and singing. Once, when she was performing on stage in Lahore, the Talent hunter of Sagar movietone spotted her and she was offered a role in a Talkie film- which was a novelty in 1931. Her first film was Abul Hasan-31. Then came Subhadra haran-32, Meerabai-32, Maya Bazar-32 etc etc. In all, she acted in 59 films, till her last film Ibrat-60. She also sang 25 songs in 12 films.

Today’s song is sung by Rajkumari Dubey and Noor Mohd. Charlie, as per the uploader’s information on the You Tube. With this song film Baazigar-38 makes its Debut on this Blog.


Song-Hai koi dil lene waala (Baazigar)(1938) Singers- Rajkumari Dubey, Charlie, Lyricist-P L Santoshi, MD- Gyan Dutt

Lyrics

Haan aan aan aan aan
hai koi dil lene waala
le lo jee
lo lo dil mol
haan aan aan aan aan
hai koi dil lene waala
le lo jee
lo lo dil mol
haan aan aan aan
kya tum dil bechti ho
haan
mera dil hai itna bhola
chot lage sah jaaye
mera dil hai itna bhola
chot lage sah jaaye
mera dil hai itna komal
dhoop lage murjhaaye
mera dil hai itna komal
dhoop lage murjhaaye
le lo jee
le lo dil mol
le lo jee
le lo dil mol
haan aan aan aan aan
hai koi dil lene waala
le lo jee
lo lo dil moi
haan aan aan aan aan

aise bhole komal dil ko
dil mein band rakhoonga
aise bhole komal dil ko
dil mein band rakhoonga
chot na lagne doongaa sajni
dhoop na lagne doongaa aa
chot na lagne doongaa sajni
dhoop na lagne doongaa
kya keemat hai bol
kya keemat hai bol

dil ka sauda dil se baalam
dil de de
dil le le
dil ka sauda dil se baalam
dil de de
dil le le
dil hai ye anmol ol
dil hai ye anmol ol
haa aan aan aan aan
hai koi dil lene waala
le lo jee
lo lo dil moi
haan aan aan aan aan


This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

4499 Post No. : 16032

Today’s song is from film Pagle-1950.

1950 was the last year of the second decade of Talkie cinema. The effects of Partition had started showing effects. Entry of actors, directors and composers from Bengal – due to the crumbling of New Theatres – entry of newer artistes to replace the migrators and the changing tastes of the Indian people was being reflected in the films made in this year. The migration of artistes-both ways-continued with force till about the early 50s and slowed down in the early 60s, where finally it was stopped in 1965 by Pakistan rulers.

The social film Pagle-50 was produced and directed by Protima Dasgupta. The cast of the film was Begum Para, Madhuri, Jagirdar, Pratima Devi, Mubarak, David, Cuckoo etc.etc. The music was by V.G. Bhatkar – who was no one else, but Snehal Bhatkar. Since he was still w2orking in H.M.V., he could not use his real name. Some other composers also did this under same conditions. For example, C Ramchandra was working Filmistan, under a contract and he gave music to his friend Master Bhagwan’s films like Bhedi Bungala-49, Bhole Bhale-49, Babuji t50 and Bakshish-50. For these films CR used the name of his long time assistant P.Ramakant (Ramakant Paingankar). Similarly, Anil Biswas, while in contract with National Studios, gave music to Bombay Talkies film Basant-1942, using the name of Pannalal Ghosh, his own Brother in Law (sister singer Parul Ghosh’s husband). In 1942, Anil Biswas was very busy with as many as 5 films – Vijay, Jawani, Gareeb, Apna Paraya and his famous film Roti.

Under such situations, normally just one pseudo-name is used to hide the real identity legally, but in the case of Snehal Bhatkar he used several names for different films-
Rukmini Swayamwar-46….Vasudev-Sudhir (Phadke)
Neel Kamal-47….B.Vasudev
Sant Tukaram, Sati Ahilya-48 and Pagle-50….V.G.Bhatkar
Suhag Raat-48….Snehal
Thes-49….Snehal and finally
Hamari beti-50….Snehal Bhatkar. By this time he had resigned from HMV and was a free bird !

The film’s director Pratima Dasgupta started as an actress and then turned to be a Producer and Director. She was born on 5-9-1922 into a wealthy family of Bhavnagar, in Kathiyawar state. Her father was the Chief Engineer of Kathiyawar state. Her family was related to Rabindranath Tagore. So, after the initial education in England, she came to Shanti Niketan and completed her studies. She was a favourite and a favoured student throughout.

Looking at her acting skills, it was Tagore himself who recommended her to act in the Bangla film “Gora”-38, based on his own novel. Her role of Latika-daughter of Paresh babu in the film-who falls in Love with Bijoy and marries her- was liked by Tagore. She did one more film ‘Na hone wali baat’-38 in Hindi, followed by the Hindi version of Rukmini in 1939. After doing 4 Bangla films, she did the Trilingual film (Bangla, Hindi and English)- Raj nartaki-1941. This was made by Wadia movietone in Bombay and was directed by Modhu Bose, husband of the Heroine Sadhana Bose-the international dancer. She married Major Manzoor-ul- Huq, brother of actress Begum Para.

Her other Hindi films were Kunwara baap-42,Raja-43 and Shararat-44, all directed by Kishore Sahu. She also did Namaste in 1943.. After this she turned to Direction and did her first film Chhamiya-45, with Begum Para and David as a Lead pair. She repeated this team again in Pagle-50 also. However her second film ‘Jharna ‘-48 was banned by Morarji Desai, the then Chief Minister of Bombay Province, on the plea that the film had explicit sexual scenes in it. This was a financial disaster for Pratima and she decided to quit films.

In all, Pratima Dasgupta did 10 Hindi films and 8 Bangla films.

In Hindi film industry, branding is very common or rather Popular, from the beginning. Actually, Branding reconfirms the actor’s strong points, his expertise in acting. For example, Ashok kumar and Motilal were known for Natural acting, for beauty it was Madhubala, for excellence in acting- Meena kumari, Sanjeev kumar for variety in roles, Sohrab Modi and Raaj Kumar for dialogue delivery, Tragedy king was Dilip Kumar (only till 1955), Ajit was Sophisticated Villain etc. etc. There was one actress who was famous for her ” Oomph”. It is said that her sexy photos were pasted by U.S. soldiers in their rooms, during Vietnam war. The ” TIME ” photographer did a Photo session with her. She too conscientiously maintained her ‘ Sexy ‘ image and so she was never known as a good actress in acting. Her name – BEGUM PARA.

Begum Para (née Para Haq; 25 December 1926 – 9 December 2008) was a Hindi film actress who was active mostly in the 1940s and 1950s. After 50 years, she returned to films with her last role in Sanjay Leela Bhansali’s Saawariya (2007) as Sonam Kapoor’s grandmother. In her times in 1950s, she was considered a glamour girl of Bollywood, so much so, that Life magazine had a special session with her devoted to her fine sensuous photographs.

Begum Para was born as Para Haq in Jehlum now a days in Pakistan. Her family was from Aligarh. Her father, Mian Ehsanul-Haq, was a judge who at some point in his life went into the judicial service of the princely state of Bikaner, now northern Rajasthan, where he became chief justice of its highest court. He was a fine cricketer of his time. She was brought up very disciplined yet liberal. She spent her childhood in Bikaner. She was educated at the Aligarh Muslim University. Her elder brother Haq, had gone off to Bombay in the late 1930s to become an actor. There he met and fell in love with the Bengali actress Protima Dasgupta, and married her.
Whenever she visited them in Bombay, she was quite taken up with the glitzy world of her sister-in-law. She used to accompany her on many occasions and get-togethers. People would get quite impressed with her looks and offer her a lot of roles. One such offer came from Shashadhar Mukherjee and Devika Rani. Her father consented to her wishes reluctantly, and requested her to never work in Lahore.

Begum Para’s first break turned out to be 1944 film Chand, from Prabhat Studios in Poona. Prem Adib was the hero, and Sitara Devi was the vamp in the film. It did extremely well and Para started getting paid about Rs. 1500 a month. Soon after, she and her sister-in-law Protima made a film called Chamia (1945) based on the novel ‘Pygmalion’, which again was a huge success. Para signed a lot of films after Chamia, but she couldn’t quite establish herself as an actress. Because she had a highly scandalous image, people always gave her the role of glamour doll in most films. She didn’t mind it because she always played herself on screen.

She did Sohni Mahiwal (1946) and Zanjeer (1947) with Ishwarlal and Dikshit; Neel Kamal (1947) with Raj Kapoor; Mehendi (1947) with Nargis; Suhaag Raat (1948) with Bharat Bhushan and Geeta Bali; Jhalka (1948); and Meherbani (1950) with Ajit Khan. She also worked in Ustad Pedro (1951), produced and directed by the then well-known actor, Sheikh Mukhtar. It was a fun film, and was packed with action, romance, and stunts.

In 1951 she posed for photographer James Burke for a Life magazine photo shoot. Para’s last role was in the movie Kar Bhala in 1956. She was also offered to play Nigar Sultana’s role ‘Bahar’ in Mughal-e-Azam (1960). However, she refused to play the role because she considered it against her image. In all, she acted in 34 films in her career.

She made a comeback on the silver screen in Sanjay Leela Bhansali’s Saawariya in 2007 as Sonam Kapoor’s grandmother.

She married actor Nasir Khan, the younger brother of Bollywood actor Dilip Kumar. They had three children, including the actor Ayub Khan. Begum Para’s father Mian Ehsan-ul-Haq of Jalandhar, was a judge who joined the princely state of Bikaner, now northern Rajasthan, where he became chief justice of its highest court. Her husband died in 1974. Following her husband’s death, she briefly migrated to Pakistan in 1975. Two years later, she relocated back to India.

She died in her sleep on 9-12-2008, at the age of 81 years. (Thanks to wikipedia).

Film Pagle-50 had 9 songs. 6 songs are already presented here. Today’s duet would be its 7th song to be discussed here. It is a duet sung by Rajkumari and Talat Mehmood. The song is quite ordinary. As such, Snehal Bhatkar was not known for many melodious songs in his films. This duet is an average one.


Song-Taaron se ab chaand ki kuchh baat ho gayi (Pagle)(1950) Singers- Rajkumari, Talat mehmood, Lyricist- Qabil Amritsari, MD-V G Bhatkar (Snehal Bhatkar)
Both

Lyrics

Taaron se ab chaand ki kuchh baat ho gayi
Taaron se ab chaand ki kuchh baat ho gayi
aapas mein do dilon ki ee mulaakaat ho gayi ee
aapas mein do dilon ki ee mulaakaat ho gayi
taaron se ab chaand ki kuchh baat ho gayi
taaron se ab chaand ki kuchh baat ho gayi
aapas mein do dilon ki ee mulaakaat ho gayi ee
aapas mein do dilon ki ee mulaakaat ho gayi

koi nazar milaa ke mohabbat dikhaa gaya
dil ko khushi se aaj dhadakna bhi aa gaya
kya jaane aankhon aankhon mein kya ghaat ho gayi
kya jaane aankhon aankhon mein kya ghaat ho gayi
aapas mein do dilon ki ee mulaakaat ho gayi ee
aapas mein do dilon ki ee mulaakaat ho gayi

aankhon mein tere khwaab hain
honthon pe tere geet
aankhon mein tere khwaab hain
honthon pe tere geet
tu aarzoo hai dil ki
har saans tera meet
tu aarzoo hai dil ki
har saans tera meet
ab meri zindagi bhi tere saath ho gayi
ab meri zindagi bhi tere saath ho gayi
aapas mein do dilon ki ee mulaakaat ho gayi ee
aapas mein do dilon ki ee mulaakaat ho gayi

apna bana ke dekho daaman na chhod dena
apna bana ke dekho daaman na chhod dena
dil mein samaane waale
dil ko na tod dena
dil mein samaane waale
dil ko na tod dena
manzoor unki dil ko har baat ho gayi
manzoor unki dil ko har baat ho gayi

aapas mein do dilon ki ee mulaakaat ho gayi ee
aapas mein do dilon ki ee mulaakaat ho gayi
taaron se ab chaand ki kuchh baat ho gayi
taaron se ab chaand ki kuchh baat ho gayi
aapas mein do dilon ki ee mulaakaat ho gayi ee
aapas mein do dilon ki ee mulaakaat ho gayi


This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

4476 Post No. : 15978

Today’s song is from the film Village Girl aka Gram Kanya-1936.

Nine years later, Ramnik Productions made another film with the same title in 1945 with the famous singer Noorjehan singing under the baton of Melody maker music director Shyamsundar. So, when the name Village Girl is mentioned, one’s mind thinks only of the 1945 film of Noorjehan- Village Girl aka Gaon ki Gori-45.

The 1936 film was made by Sagar Movietone. Though Sagar made Talkie films right from the first year of the Talkie era-1931, their films did not make much mark in the film world, till Motilal and Sabita Devi pair came on the scene in 1934 end with ” Shehar ka jaadu”. The new pair clicked famously and Sagar became a name to reckon with. This successful pair did 8 films together for Sagar.

During this period actor singer Surendra came on the scene with his film ” Deccan Queen”-1936, with Aruna Devi. The two Heros then worked with different Heroines of Sagar company. While Motilal worked with Shobhana Samarth, Bibbo, Maya Banerjee and Rose, Sabita Devi worked with Kumar and Surendra. Both Motilal and Surendra came together in the film Jagirdar-36. For the young pair of Surendra and Sabita Devi, film Village Girl was the first film together. They did only one more film together- For Ladies Only-39. Both the films were directed by Sarvottam Badami.

S.Badami is an example of what the Cinema industry is. For some, it is a ditch which destroys the entrant and for a few lucky ones it plays ” Philosopher’s Stone (Paras)”, which turns their lives into Gold. He is one of the two examples, where an ordinary Motor Mechanic makes it as a famous member of the cinema industry. Besides Badami, the other such example is Poet-Director Gulzar (Sampooran Singh Kalra), who was also a Motor Mechanic.

Sarvottam Badami was born in 1910 at Channapatna in Karnataka,to a revenue officer working in Mysore. He passed his SSLC and worked as a garage mechanic and then a projectionist in Select Picture House, Bangalore, both of which were owned by Dr. Ambalal Patel. Patel moved to Bombay and financed Ardeshir Irani of Imperial Film Company, and Chimanlal Desai as a partner forming Sagar Movietone in 1930.
At the age of 19 years, Badami went to Bombay to study automobile engineering. He was asked by Ardeshir Irani who met him at a wedding to help out with the recording equipment he had purchased from abroad.

Badami helped in the sound recording department for the first Talkie in India, Ardeshir Irani’s Alam Ara (1931). Around that time a German director making the film Harishchandra left half-way and Badami offered to complete it, the co-director was Raja Chandrasekhar, although the co-director credit has also been cited as T. C. Vadivelu Naicker. The film turned out to be successful. He was contracted by Sagar Movietone (Sagar Film Company) to direct three films, two in Telugu and one in Tamil: Galava Rishi (Tamil), Rama Paduka Pattabhishekam and Shakuntala in Telugu. The success of these films established him as a director. His working team had people like the cinematographer Faredoon Irani, music director Anil Biswas and the Sagar Movietone favourites Sabita Devi and Motilal.

Initially, to avoid embarrassment to his family he requested not to be credited in the regional language films. He did not know Hindi but from 1932-1947, he worked for Sagar Movietone and also directed nearly 30 films in Hindi, for many others. His first Hindi film was Chandrahasa (1933) starring Noor Mohammed Charlie. He was paid Rs 2000 per film with the complete film being made within Rs 50,000. He worked with most of the top actors of the time like Motilal, Nargis, Ashok Kumar and Pahari Sanyal. He brought Mehboob Khan who was then doing roles as an extra out of obscurity and gave him the role of Sabita Devi’s father in the film Vengeance is mine(1935).

He made several films based on novels. Some of the writers whose work he used were K.M.Munshi, Sarat Chandra and Ramanlal Vasanthlal Desai. The film Aap ki Marzi (1939) was inspired by the Hollywood film Paradise for Three (1938). He became known for his satirical comedies and “socially relevant films”.His film Grihalaxmi (1934), which starred Jal Merchant and Sabita Devi had the woman getting into marriage only if her doctor husband agreed not to want children. The success of the film mitigated the enraged public reaction at the time.

He showed his understanding of media publicity required for films when in 1937, Badami resorted to woo audiences by announcing cash prizes of Rs.500, Rs.200 and Rs.100 for the best reviews of his newly released film Kulvadhu (1937). The promotional gambit worked sending audiences to the theatres. According to an interview, most of Badami’s films didn’t survive as the negatives were burnt to extract the silver from the silver nitrate.

After Aap ki Marzi-38, he followed his mentor, Dr. Patel and joined Sudama Pictures, when in 1939, Sagar Movietone merged into National Films. Badami

also worked in Famous Cine Laboratories, from 46 to 48.

Apparently, in 1948 Deputy Prime Minister Vallabh bhai Patel, who was then also in charge of the Information Ministry, on a visit to the Cine Laboratories Bombay, asked Badami to help set up a Newsreel and Documentary section. The Films Division was established in 1948. He became chief producer in the newsreel department and made several documentaries. He worked in the Films Division making documentaries from 1948-1952. After that he stopped making films and returned to Bangalore to retire as “I was a forgotten man in the feature film world”. He became an industrialist by starting a manufacturing business. Later he worked as a Consultant for Kamani Group of Industries also. He died in 2005 in Bangalore, Karnataka, India.

FILMOGRAPHY: 1932: Harishchandra; Galava Rishi; Paduka Pattabhishekham; Shakuntala; 1933: Chandrahasa; 1934: Grihalakshmi; 1935: Dr. Madhurika; Vengeance is Mine; 1936: Jeevan Lata; Grama Kanya; 1937: Kokila; Kulavadhu; 1938: Three Hundred Days and After; 1939: Aap Ki Marzi; Ladies Only; 1940: Chingari; Sajani; 1941: Holiday in Bombay; 1942: Khilona; 1943: Prarthana; 1944: Bhagya Lakshmi; 1945: Ramayani; 1946: Uttara Abhimanyu; 1947: Manmani; 1951: Vinoba Bhave (Doc);1952: Roof over the head

(Ack: Sapnon ke saudagar by Vithal Pandya, Sagar Movietone by Biren Kothari, HFGK, muVyz, Encyclopedia of Indian Cinema, and my notes)

The cast of the film was Sabita Devi, Surendra, Yakub, Aruna, Kayam Ali, Sankatha Prasad and many others. The film’s story was written by Dr. Jayant Shyama. The story is about a young man Kumar (Surendra) who loves Vilasini (Aruna), but has to marry Bansari (Sabita Devi) due to family obligations. The film shows the complications in their lives.

Kumar’s father (Sankatha Prasad) has taken a loan from sheth Dinanath (Kayam Ali) for Kumar’s education, on condition of Kumar’s marriage to his daughter Bansuri. Unknown to this precondition, Kumar falls in love and impregnates Vilasini. Due to parental obligations, Kumar is forced to marry Bansuri and abandon Vilasini. As the days pass by, Kumar’s father gets killed accidentally by Kumar himself. Vilasini tries to take the blame on herself. In the court the truth comes out and Bansuri comes to know about her love and pregnancy from Kumar. Bansuri frees Kumar from her bond and the lovers unite.

Now we come to the Music riddles of this film. The film, as mentioned in the book “Sagar Movietone” by Shri Biren Kothari ji gives the name of Bhaskar Rao as its Music Director and also for film ‘ Captain Kirti Kumar-37’. Who is this Bhaskar Rao ? A. Bhaskar Rao was a writer ( Aadmi-39) and asstt. Director(Padosi-41) in Prabhat. Hailing from south Karnataka, Amembal Bhasker Rao’s elder brother A.Sunder Rao was an expert Harmonium player. His younger brother A. Dinkar Rao aka D. Amel, was with A.I.R. as a Musician for 40 years. A.Bhasker Rao was a Tabla player and a disciple of Master krisna Rao Phulambrikar.

However, HFGK gives the name of MD as only ” Rao”. The uploader of the song claims that the MD is Shankar Rao Khatu. Dr. Ashok Ranade, in his book “Music beyond Boundaries”, on page 342, mentions the name as Shankar Rao Khatu. I wrote to Shri Girdharilal Vishwakarma ji, who says it is Shankar rao khatu. Now, this Khatu was a famous Bhajan singer. He had dabbled in films too by acting in film Vasant Sena-34, sang a song in film ” Khwabon ki duniya-37″ and gave music to film Sagar kanya-36. In all these films his name appears as Shankar Rao Khatu and nowhere as only “Rao”. I feel this confirms that Rao does not mean Shankar Rao Khatu. In western India like Maharashtra and Gujarat, people from Karnatak or southern states are referred to only as Rao. All these pointers take me to feel that the MD is A.Bhaskar Rao. Moreover, for two successive Sagar films he was the MD.

PS-Shri Biren Kothari has subsequently clarified that the music director was Shankar Rao Khatu.

There is confusion about the singer also. HFGK lists the singer as Rajkumari. When I listened to the other songs of Rajkumari from the same film, I felt that this voice was different. Isuru kariyawasam, the Sinhalese expert on old Hindi films commented on YT that the singer is Sabita Devi. The uploader, Shalin Bhatt agrees to some extent about voice but insists on the name of Rajkumari. Girdharilalji claims it to be Rajkumari Calcuttewali ! I feel it is unlikely because Pullobai did not sing in any film outside Calcutta or films made by other than Calcutta producers. So I have gone the safe way by saying that Rajkumari is the singer of this song.

I request experts to opine. I am not a voice expert.


Song-Tum Tulsi maata pyaari (Village Girl)(1936) Singer-Rajkumari, Lyricist- Unknown, MD- Shankar Rao Khatu

Lyrics

Tulsi maata pyaari
tum Tulsi Maata pyaari
tum Tulsi Maata pyaari
sati ho dukh nivaari
tum devi sankathaari
sati ho dukh nivaari
tum devi sankathaari
sabke rog taaro tum
sabke rog taaro tum
jeewan nav ka taaro
sabke rog taaro tum
sabke rog taaro tum
jeewan nav ka taaro
Tulsi mata pyaari
tum Tulsi Mata pyaari

mahima sabne maani
mahima sabne maani
murli waala gun gaaya
mahima sabne maani
haan aan aan aan aan aan aan
mahima sabne maani
murli waala gun gaaya
murli waala gun gaaya
murli waala gun gaaya
poojan ko aayi daasi
poojan ko aayi daasi
vinti karat tori main
vinti karat tori main
vinti karat tori main
Tulsi maata pyaari
tum Tulsi Maata pyaari

sati ho dukh nivaari
tum devi sankathaari
sab ke rog taaro tum
sab ke rog taaro tum
sab ke rog taaro tum
jeewan nav ka taaro
jeewan nav ka taaro
Tulsi maata pyaari
tum Tulsi Mata pyaari


This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day:

4359 Post No. : 15682

Today’s song is from the film Ismat-1944 – a Muslim Social film made by Fazli brothers. This film was directed by the younger brother Sibtain Fazli, making his Debut as a Director. This was the second film of Fazli brothers to be made in Bombay, after the earlier film Fashion-43 also made in Bombay. Prior to that, they began their film making from Calcutta. This was to avoid the possible hindrance from the Muslim fundamentalists in Bombay, who were against making films depicting Muslim social life. Their first such film was Qaidi-40, made at Calcutta. It was followed by Masoom-41 and Chauranghee-42-all at Calcutta. Then they shifted to Bombay.

Films with the Muslim background of Muslim Culture were quite common in India,right from the First ever Hindi Talkie, “Aalam Ara”-31. Not just Social but different Genres like Arabian Night stories,Historical Romance, Folk Tales, Adventure Tales, Religious stories, Common King and Queen stories, Costume dramas etc had Muslim backgrounds. Indian public audiences watched these films with interest and without any bias.

If you see the film production patterns, You will realise that the biggest film companies all over India also followed the pattern of making initial films with Muslim background. Take for example the very first year of talkie films. Out of 24 films made, 7 films were on Muslim background. After Aalam Ara, there was Abul Hasan, Shirin Farhad, Laila Majnu, Noorjehan etc in 1931. Prabhat film company made Ayodhya ka Raja in 1932, but same year, next film was Jalti Nishani-32, a Pseudo-Historical Muslim background movie.

In Calcutta, New Theatres made their first 3 Talkie films in Hindi on Muslim subjects. Mohabbat ke aansoo-a household story, Subah ka sitara-a Folk Tale and Zinda Laash- an Arabian Night story. In the 30s and 40s, most stunt and costume films were on Muslim cultures.

In the initial era, the Talkie films were dependent on Parsi Urdu and Gujarati theatre stories. Before films appeared in India, the main channel of entertainment was stage dramas. Theatres were active and popular mainly in Maharashtra, Bengal and Andhra. The regional drama companies used to have mostly Mythological topics for their dramas. They also used to tour quite a lot. But their sphere of activities was limited to their language areas. Marathi drama companies toured only in Maharashtra towns or where there was a sizable Marathi population, like Baroda, Gwalior or Indore etc. So, their audiences were limited.

Similarly, Bengal and Andhra drama companies also toured where Bangla or Telugu population was the main audience. It was only the Parsee Theatre companies, Alfred, Elphinston etc etc, which toured all over the country, performing their Urdu dramas. Many times these companies used to take whole special trains to travel with artistes and material. This earned them All India acceptance of Muslim themes, which translated into the films that were made initially. In this endeavour, major contribution was from drama writers like Agha Hashra kashmiri, Syed Yavar Ali, Munshi Nazir, Betab, kathawachak, Bekal, Ehsaan etc etc.

Some early Talkie films on Muslim subjects were, Naksh e Sulemani-33, Bahar e Sulemani-35, Naadira-34, Farz e ada-35, Mumtaz Begum-34, Rashida-35 (First Muslim Social film), Noor e yaman-35, Qismat ka shikar-34, Adil e Jahangir-34, Anarkali-35, Jahan Ara-35, Shamsheer e Arab-35 and many more.

Fazli Brothers were the pioneers in making Muslim Social films from 1940 onwards. They felt that due to certain shortcomings in Muslim community, their development is suppressed. Their attempt was to highlight these points like Lack of education, for example, in their films in the garb of entertainment. Filmmakers like the great Mehboob Khan too were keen on such films, because he earnestly wanted to help his community to improve their status in Indian society.

That is why he opted for a Muslim Social theme for his Firtst movie under his own banner,” Mehboob productions”. The film was ‘ Najma-43″. Mehboob featured A grade actors like Veena, Sitara, Ashok kumar, Kumar, Yaqub, Majid and others for his first film. Later on he made yet another Muslim social film,” Elaan”-47 which was much bolder and he expected some opposition from the Muslim Fundamentalists. That is why he had warned his actors – especially Munawwar Sultana- to be ready for any repercussions from their own people, after the film was released. He gave an option to her to quit the film for safety, but she showed total faith in him and stuck to her role in the film.

Film Ismat-44 ( the Google meaning of this word is Chastity or Modesty) was made by Fazli brothers on all this background. By now, with the experience of 4 such films behind them, they had captured the technique of making films with subtle messages to their community. In this film, the darker side of the Western Culture, particularly Divorce and Separation, was highlighted.

The story of the film was – Aslam (Nandrekar) and Ismat (Nargis) get married. They both are from good traditional Muslim families. Same day Shafi Anwar (Ghori) and Ishrat (Mehtab) too get married Both had tasted western culture and follow it merrily. in due course of time, the Eastern culture (Aslam/Ismat) couple is happy, but Western Culture couple (Anwar/Ishrat) can’t adjust or compromise and are divorced. Ishrat joins a Theatre company as a Dancer at a very good salary. Soon she becomes rich and famous.

Aslam goes to Bombay to look for a job and meets with an accident with Ishrat’s car. She takes him to her home and looks after him. In this accident, Aslam loses his memory and forgets about Ismat. One day Ismat and her brother see his photo with Ishrat in a newspaper. They learn everything about his accident and loss of memory etc.

Ismat goes to Bombay and works as a maid in Ishrat’s house. She tries to remind Aslam about his past, step by step. One day Ishrat discovers this and removes Ismat from the job. Dejected, Ismat sits down for nonstop prayer. After some time, due to its power, there is a storm, lightning and thunder. In this period, Aslam is affected and suddenly his memory comes back. He escapes from Ishrat’s home and returns to Ismat. Both get happily united again and Eatern Culture wins over Western Culture.

The Hero of this film was B. Nandrekar, whose name may not ring any bells in new generation readers. Many actors-males and females- shifted from silent films to Talkie films easily as they knew Urdu/Hindi language fluently. There was an actor who easily transitioned from silent films to talkie films. This was B Nandrekar or Baba Saheb Dada saheb Nandrekar.
Nandrekar was one of the very few really handsome actors Hindi films ever had. He was born on 15th November 1910, in Sangli district of Maharashtra, near Kolhapur. Being a Muslim, he could speak Urdu/Hindi fluently. He completed his schooling from Kolhapur and joined films. Vishnupant Damle (one of the founder partners of Prabhat Films) was making silent film ‘Maharathi Karna’ (1928) for Maharashtra Film Co. He offered Nandrekar a role. Then he worked in other films like ‘Baji Prabhu Deshpande’ (1929), ‘Lanka’ (1930), ‘Kismet’ (1931) and ‘Dushman Ki Raat’ (1931).

His first talkie film was ‘Kurukshetra’ (1933). Prabhat gave him a role in ‘Sant Tukaram’ (1936) (its Hindi version came in 1948). He worked in ‘Amar Jyoti’ (1936) and became quite popular as a hero, opposite Shanta Apte. He was the hero in ‘Baghbaan’ (1938) opposite Sitara Devi.

In 1939, he became the first actor to go abroad to shoot scenes in the film ‘Africa In Hind’ – ‘हिन्द में अफ्रीका’ (1939). The shooting was done in Africa. Thus this became the first ever Hindi film to shoot in foreign country, and NOT film ‘Naaz’ (1954), as is popularly believed and also as mentioned in HFGK. Nandrekar had become very popular. The chappals he used in the film ‘Baghbaan’ became fashionable by the name ‘Nandrekar Chappals‘. This alone is enough to prove his popularity.

His lawsuit against Prabhat Film Company was a topic of discussion in the industry. There were differences between him and Prabhat over his contract with them. His lawyers were Mr. Jinnah and Mr. Setalwad, who won the case for him. He was also the first actor to work as a freelancer.

Nandrekar appeared in 23 films. His films were ‘Kurukshetra’ (1933), ‘Amar Jyoti’ (1936), ‘Jaadugarin’ (1937) (UR), ‘Baghbaan’ (1938), ‘Africa In Hind’ (1939), ‘Qaidi’ (1940), ‘Hindustan Hamara’ (1940), ‘Alakh Niranjan’ (1940), ‘Chitralekha’ (1941), ‘Mamaji’ (1942), ‘Duniya Tumhari Hai’ (1942), ‘Nai Kahaani’ (1943), ‘Andhi Duniya’ (1943), ‘Swarn Bhoomi’ (1944), ‘Lady Doctor’ (1944), ‘Ismat’ (1944), ‘Bachpan’ (1945), ‘Kamla’ (1946), ‘Jeevan Sikho’ (1946), ‘Parshuram’ (1947), ‘Meri Amaanat’ (1947), ‘Khandani’ (1947), ‘Sant Tukaram’ (1948) and last film ‘Bihari’ (1948).

He passed away in 1949. No definite information is available about his demise.

Today’s song is sung by Rajkumari. It is composed by H P Sharma (2 songs), who was a co-MD of the film with his own elder brother Pt. Govardhan Prasad (5 songs). This is the third song from film Ismat-44 to feature on this Blog.

(Ack: Information is used, with thanks, from books – ‘ stages of life ‘ by Kathryn Hansen, ‘Muslim Cinema’ by Isak Mujawar, and ‘Forgotten movies on Muslim culture’ by Kamalakar P.)


Song-Badali hawa luti bahar rang-e- chaman bigad gaya (Ismat)(1944) Singer- Rajkumari Dubey Banraswali, Lyricist- Shams Lucknowi, MD- H P Sharma

Lyrics

Badli hawa luti bahaar
rang-e- chaman bigad gaya
phoool hanse to yoon hanse
daagh bhi gar nikal gaya

gham se badal gayi khushi
maut bani hai zindagi
saans mili to jaise ek
saans mili to jaise ek
teer(??) ka dil machal(?) gaya
saans mili to jaise ek
teer (??) ka dil machal(?) gaya

thahri hawa ko chhaanv ne
sharmo haya ko raat bhar
aah magar ghame sahar
aah magar ghame sahar
kaam bana bigad gaya
aah magar ghame sahar
kaam bana bigad gaya
badli hawa luti bahaar
range chaman bigad gaya
phool hanse to yoon hanse
daagh bhi gar nikal gaya


What is this blog all about

This blog discusses Bollywood songs of yesteryears. Every song has a brief description, followed by a video link, and complete lyrics of the song.

This is a labour of love, where “new” songs are added every day, and that has been the case for over TWELVE years. This blog has over 16400 song posts by now.

This blog is active and online for over 4000 days since its beginning on 19 july 2008.

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